Sections: Literature
To take place as a person,
Be tested by love
For it is in it that the true
Essence and value of any person.
I.S. Turgenev
At home, you got acquainted with the story of I.S. Turgenev “First Love”. What are your impressions?
By the way, this work and contemporaries of Ivan Sergeevich was perceived ambiguously.
In a letter from Louis Viardot to Turgenev, we read a sharp criticism of the story: “My friend, I want to speak frankly to you about your “First Love”.
To be frank, if I were the editor, I would also turn down this little novel, and for the same reasons. I am afraid that, whether you like it or not, it should be included in the category of that literature that is rightly called unhealthy ...
Who among her admirers does this new Lady of the Camellias choose? A married man. But why not at least make him a widower? Why this sad and useless figure of his wife? And who is telling this scandalous story? His son, oh shame! And after all, he does not do this at the age of 16, but at 40, when his hair is already silver; and he finds not a single word of reproach or regret for the miserable condition of his parents. What, after all this, is the talent that expends itself on such a plot? Louis Viardot
However, Turgenev's friend, the writer Gustave Flaubert, evaluates First Love differently. In March 1863, he wrote to Turgenev: “... I understood this thing especially well because it is exactly the story that happened to one of my very close friends. All the old romantics ... should be grateful to you for this little story that tells them so much about their youth! What an incendiary girl this Zinochka is. One of your qualities is the ability to create women. They are ideal and real at the same time. They have an attractive power and are surrounded by radiance. But this whole story and even the whole book is overshadowed by the following two lines: “I had no bad feeling against my father. On the contrary: he seemed to have grown in my eyes.” This, in my opinion, is an amazingly deep thought. Will it be noticed? Don't know. But for me, this is the pinnacle.”
In order to figure out who is right in their assessment of the story, let's turn to its analysis.
Do you think everyone experiences first love?
Turgenev in his work says no. In the prologue, the author depicts the scene of a night conversation between the host and two guests who lingered in his house. From the conversation of men, we understand that first love bypasses the vulgar and ordinary consciousness. The 1st guest, Sergey Nikolaevich, says: “I didn’t have a first love ... I just started with a second one ... When I first dragged for one very pretty young lady ... I looked after her as if this matter was not new to me ... ”
What word in his speech is alarming?
"Hooked up."
This man not only vulgarizes the very concept of love; he tries to cross out the fundamental property of first love - its ability to make a well-known world new.
The story of the first love of the owner of the house looks like an everyday, mundane, ritualized, insincere, forced one: “we got married, we very soon fell in love with each other and got married without delay, in a word, “everything went like clockwork with us”.
And I. S. Turgenev believed that love is a blow. She takes the whole person without a trace and requires transformation, which is why you remember her all your life later.
Vladimir Petrovich, the 2nd guest, was gifted with first love, he knows what it means for a person in his youth and for his entire subsequent fate. He is clearly aware of who is in front of him and that he has to defend the very concept of “love”, so he asks for time to write down the story that still lives in him, because one cannot talk about this in vain ...
Turgenev experiences many of his heroes with love, because this feeling transforms a person, makes him better. Let us turn to the images of the main characters of the story, gifted with first love.
The story of students about the heroes of the work and the conclusions of the teacher.
The image of Voldemar.
The story is told from the perspective of the protagonist Vladimir Petrovich, a man in his forties. He recalls a story that happened to him, a 16-year-old boy. According to the writer himself, the prototype of the young hero of the story was himself: “This boy is your obedient servant…”
Long, bright, warm days of summer replace each other ... Life goes on as usual ... without a tutor ... walking with a book in hand, jumping on a riding horse. The boy pretends to be a knight in a tournament. He does not yet have a lady of the heart, but his whole soul is ready to meet her.
Describe the inner state of the hero.
Two polar feelings live in it: sadness and joy. He is sad and crying from contemplating the “beauty of the evening” and reading the “singing verse”. But at the same time, it was so joyful to observe a beautiful world around him that “through tears and through sadness” irresistibly “showed through ... a feeling of a young, boiling life.”
Turgenev calls Volodya's presentiment "half-conscious, bashful," since it is connected with the dreams of a young heart about the "ghost of female love." Youthful consciousness is focused on the dream of chivalrous service to the Beautiful Lady. And in this he is a worthy son of his father.
The image of Peter Vasilyevich.
The prototype of the hero is the writer's father Sergei Nikolaevich, who married Varvara Petrovna (Ivan Sergeyevich's mother) by calculation. Throughout his life, he will retain his inner independence and emphasized coldness in the marital union.
Why is it after the “sparrow night” that Turgenev talks about Vladimir's father?
“Sparrow Night” showed that the feeling that Vladimir feels is real and very serious, his happy dream at dawn is like a calm before the storm of suffering and passion that will fall on the young man, and it is the father who will cause this suffering.
Now a 40-year-old man is talking about his father, but even two decades after his death, he continues to look at him with adoration and admiration. "I loved him, I admired him, he seemed to me a model of a man." The father's face is still unforgettable: smart, handsome, bright, those short minutes when he allowed the boy to be near him are unforgettable. But this did not make her affection for her father any less.
It is the father who helps the son to understand the eternal meaning of love: I penetrated into yours: you are expanded - and you are disturbed ... and your I put to death."
In the memory of Vladimir Petrovich, his father remained a man of honor. Married by calculation to a woman “ten years older than him” and being financially dependent on her, he endures for many years an unworthy position. The only thing that helps him to remain an internally independent person in forced life circumstances is his strictness, coldness and remoteness in relations with his wife. Therefore, it is difficult to imagine a situation in which the father could ask her for anything. Nevertheless, twice Peter Vasilyevich will have to kneel before his wife, taking care of Zinaida.
When their relationship ceases to be a secret thanks to an anonymous letter from Count Malevsky and a quarrel occurs in the house with cruel words and threats, he finds the spiritual strength to go to his wife and “alone with her” talk about something for a long time. In an effort to protect the princess from slander, he apparently agrees with his wife's condition to leave the dacha and move to the city. However, the most amazing scene is when, according to Vladimir Petrovich, a few days before his death, his father received a letter from Moscow and “went to ask my mother for something and, they say, even cried, he, my father”!
The father also behaves chivalrously in the situation with the author of an anonymous letter to his wife, Count Malevsky, refusing to visit his house: “... I have the honor to report to you that if you complain to me again, I will throw you out the window. I don't like your handwriting."
A handsome, deep, passionate man, he had a decisive influence on the frisky, coquettish naughty princess.
Even when everything is revealed, the knight boy “did not sob, did not give in to despair”, and most importantly, “did not grumble at his father.” The chivalrous behavior of the father in the following days will not only not give rise to reproaches to the son, but will even more affirm the young man in his father's right to love. Significant in this sense is the scene (after his father’s meeting with Zinaida in the city), when he suddenly realized “how much tenderness and regret the ... strict features” of his father could express, who passionately loved and at the same time grieved over the impossibility of his love.
The image of Zinaida Aleksandrovna Zasekina.
The prototype of Zinaida was the poetess Ekaterina Shakhovskaya, she was a neighbor in the dacha of 15-year-old Turgenev.
Zinaida occupies an intermediate position between childhood and adulthood. She is 21. This is evidenced by her actions, from which she breathes childishness, thoughtlessness (playing forfeits or ordering Voldemar to jump from the wall). The love of her fans amuses her. She also treats Voldemar as another admirer, at first not realizing that he has never fallen in love, that his life experience is even less than her own.
In the second plot scene, the motive of light will appear through and very important in solving the image of Zinaida. The light shines through in Zinaidina's “sly smile on her slightly open lips”, the princess's quick glance thrown at Vladimir illuminates with light. And “when her eyes, for the most part half-closed, opened to their full size,” the light seemed to spill over the entire face of the girl.
Why does light accompany Turgenev's heroine?
The feeling of the outgoing light from the look, the face of Zinaida belongs to the young knight in love, deifying his ideal, who saw a woman angel in front of him. But at the same time, light is a sign of special purity, which speaks of the inner purity of Zinaida, the purity of her soul, despite all the contradictory behavior of the princess.
The motif of light culminates in the portrait description of Zinaida, who is seated against the background of a window. “She was sitting with her back to the window, curtained with a white curtain, a sunbeam, breaking through this curtain, poured soft light on her fluffy golden hair, her innocent neck, sloping shoulders and gentle, calm chest.” Enveloped by window light, radiating light herself, she seemed to be in a cocoon of light, through which “her face seemed even more charming: everything in it was so subtle, smart and sweet.” Here “the eyelids quietly rose”, and in the girl’s kindly shining eyes the soul seemed to be reflected.
Zinaida enters the world of adults with difficulty and tears. In her character is to love a strong person, "who would break me himself." She is waiting for just such love, she wants to obey her chosen one. She is no longer satisfied with flirting with fans, she is “sick of everything”, and she is ready for a big, strong feeling. Voldemar is the first to understand that she truly fell in love.
Why is the piece called "First Love"? How do you understand the title of the story?
This is a work about the first love in the life of the main characters of the story. In the phrase "first love" for Voldemar, the key word is "first", for the father - "love", and for Zinaida both words are important. The title of the story is ambiguous. “First Love” is not only a story about the first wonderful feeling of a boy who has become a young man. This is a painful last passion for the father and the only, fatal love for Zinaida. Thus, everyone has their own “first love”.
Vladimir Petrovich (Voldemar) - the hero of the story "First Love", on whose behalf the story is being told. This is an autobiographical image of the story-memories. A sixteen-year-old boy from a wealthy, but not entirely prosperous family (his father, who married a woman ten years older than him, is cheating on her), standing on the threshold of adulthood and gradually beginning to recognize her. This is facilitated by love for a girl who struck him with her exclusivity.
It is very important for the author to "pass" the depicted story through the perception and experience of a teenager in love. First of all, this gives Turgenev the opportunity to give a new meaning and a new sound to his traditional theme of love. Voldemar's love for Zinaida is still a youthful feeling that grows out of vague premonitions and expectations. It is almost disinterested - not connected with any practical intentions and, in essence, has no clear purpose. Love reveals in this Turgenev's story its own poetic essence, not overshadowed by worldly contradictions and disappointments. It is in this version of it that the secret potential of harmony inherent in love is revealed.
Talking about his experiences, Voldemar brings together seemingly incompatible states: he is ashamed and cheerful, pleasant and insulting, painful and sweet. Love is both happiness and suffering, a source of pride and humiliation, fear and hope. The theme “love-slavery” also sounds, also creating combinations of more and more new, previously incompatible meanings: heroic slavery, voluntary slavery, jubilant slavery. In earlier works, these heterogeneous shades of feeling either did not connect, or did not fully develop, or collided in contrast and even conflict: now they tend to merge. In Turgenev's "First Love" for the first time, the harmonic unity of opposites is shown, which is not amenable to logical comprehension, but is clearly felt. Keeping in mind all the inconsistency of his previous states, the hero sees something valuable in each of them and does not find anything like them in his life, even the most painful of them are inseparable from the feeling of a holiday. All this unfolds against the background of a completely different, tragic, worldview, which constitutes the final wisdom of the life lived (it colors the hero's reflections in the epilogue of the story).
Zasekina Zinaida Aleksandrovna (Zinaida) - the main character of the story "First Love" by Turgenev. Comes from an impoverished aristocratic family. At first glance, much in her character and life is explained by the inconsistency of her social position. But the narrator's observations, and later the story of Zinaida's love for Vladimir's father, reveal an immeasurably deeper content of her image. Behind Zinaida's eccentric actions one can guess an unsatisfied, inquisitive and passionate soul (these features bring the heroine closer to Asya). But her spiritual impulses have nothing to do with moral and even more so with social problems. All the intense and varied aspirations of this extraordinary nature are focused on love. From here, psychological surprises are born: selflessness and lust for power, cruelty and kindness coexist in the soul of the heroine. 3inaida can enjoy the suffering of others, finding compensation for her own pain in it, but she is almost instantly able to feel tenderness for her victim. The heroine can be cruel from the consciousness of her own strength (it is the desire to feel omnipotent that prompts her to torment her fans). However, it is not for nothing that this triumphant force is called playing: power over people for Zinaida is an end in itself and, in essence, disinterested. Therefore, the desire to dominate and enslave is often mixed with cheerful carelessness and is always marked by a special grace that reconciles even with the most insidious whims of this extraordinary creature.
Zinaida is the first heroine of Turgenev, endowed with a sharp skeptical mind. The brighter is the charm of femininity inherent in her, surrounding the heroine with an aura of not only human, but also purely feminine exclusivity. Love breaks the whole habitual structure of her inner life. She bursts into the spiritual world of Zinaida as a fatal, elemental and formidable irrational force. The heroine of the story “First Love” by Turgenev feels that she is losing independence and the ability to rule over people so dear to her, she tries to resist passion, but passion still wins. The proud 3inaida endures humiliation and recklessly sacrifices herself. But this is no ordinary love-bondage situation; the goal of her victims is pleasure and happiness, sacrifices are inseparable from demands, and it turns out that in the depths of voluntary submission to a loved one lies a “fateful duel” of two strong natures.
The denouement brings an invasion of the love story of the rough and simple prose of life. The extreme tension of feeling, the catastrophic nature of its development coexist with the everyday life of an "illegal" love affair - with squabbles, quarrels, anonymous letters, family scandals, dubious monetary settlements, the need to somehow get out of a shameful "story" and hide its consequences, precisely in these trials tragic passion burns out. At the end of the story, the reader learns that Zinaida, having gone through the strongest mental upheavals, freed herself from the yoke of passion and successfully married. But Turgenev, apparently, cannot allow his heroine to enter into one of the usual life paths. The report of her sudden death interrupts the story about her.
Peter Vasilyevich (Father) - the father of the narrator. This is still a young and very handsome man with a strong will, courageous, passionate, self-confident and despotic domineering. The prototype was the father of the writer. A consistent egocentrist of the Pechorin type, he seeks in life pleasures and power over people, guided by the principle: “Take what you can yourself, but don’t give into your hands, belong to yourself - this is the whole thing of life.” In seeking the love of Zinaida, at first he seems to be fulfilling his life principle, subordinating her to his will. But in the future, something else becomes clear - the one who looks like a ruler, to whom sacrifices are made, in the end he himself turns out to be a victim of passion - acts as a humiliated supplicant, cries from the consciousness of his weakness and dies, bequeathing to his son: “Be afraid of woman's love, be afraid of this happiness , this poison ... ".
The story of Ivan Sergeevich Turgenev "First Love" tells about the emotional experiences of a young hero, whose childhood feelings have grown into an almost insoluble problem of adult life and relationships. The work also touches on the relationship between father and son.
History of creation
The story was written and published in 1860 in St. Petersburg. The work was based on the real emotional experience of the writer, so a clear parallel can be drawn between his biography and the events of the story, where Volodya or Vladimir Petrovich is Ivan Sergeevich himself.
In particular, in his work, Turgenev fully described his father. He became the prototype for the character of Peter Vasilyevich. As for Zinaida Aleksandrovna herself, the prototype for her character was the first love of Ivan Sergeevich Turgenev, who was also his father's mistress.
Due to such frankness and transferring the lives of real people to the pages of the story, the public met her rather ambiguously. Many condemned Turgenev for his excessive frankness. Although the writer himself has repeatedly admitted that he does not see anything wrong with such a description.
Analysis of the work
Description of the artwork
The composition of the story is built as Volodya's recollection of his youth, namely, the first almost childish, but serious love. Vladimir Petrovich is a 16-year-old boy, the protagonist of the work, who comes to a country family estate with his father and other relatives. Here he meets a girl of incredible beauty - Zinaida Alexandrovna, with whom he falls irrevocably in love.
Zinaida loves to flirt and has a very capricious disposition. Therefore, he allows himself to accept courtship from other young people, in addition to Volodya, without making any choice in favor of any one, specific candidate for the role of his official boyfriend.
Volodya's feelings do not reciprocate in her, sometimes the girl allows herself to mock him, ridiculing their age difference. Later, the main character learns that his own father has become the object of desire for Zinaida Alexandrovna. Unnoticed spying on the formation of their relationship, Vladimir understands that Pyotr Vasilyevich has no serious intentions towards Zinaida and plans to leave her soon. Having accomplished his plan, Peter leaves the country house, after which he suddenly dies for everyone. On this, Vladimir stops his communication with Zinaida. After a while, however, he learns that she got married and then died suddenly during childbirth.
Main characters
Vladimir Petrovich is the main character of the story, a 16-year-old boy who moves to a country estate with his family. The prototype of the character is Ivan Sergeevich himself.
Pyotr Vasilyevich is the father of the protagonist, who married Vladimir's mother because of her rich inheritance, which, in addition, was much older than himself. The character was based on a real-life person, the father of Ivan Sergeevich Turgenev.
Zinaida Alexandrovna is a young 21-year-old girl who lives next door. Has a very frivolous disposition. It has an arrogant and capricious character. Due to her beauty, she is not deprived of the constant attention of boyfriends, including from Vladimir Petrovich and Pyotr Vasilyevich. The prototype of the character is considered to be Princess Ekaterina Shakhovskaya.
The autobiographical work "First Love" is directly related to the life of Ivan Sergeevich, describes his relationship with his parents, mainly with his father. A simple plot and ease of presentation, which Turgenev is so famous for, helps the reader to quickly immerse himself in the very essence of what is happening around, and most importantly, to believe in sincerity and experience with the author all his emotional experience, from appeasement and delight to real hatred. After all, there is only one step from love to hate. It is this process that the story mainly illustrates.
The work demonstrates exactly how the relationship between Volodya and Zinaida is changing, and also illustrates all the changes between the son and father when it comes to love for the same woman.
The turning point of the protagonist's growing up emotionally is perfectly described by Ivan Sergeevich, because his real life experience is taken as the basis.
Read also the analysis of other works by I.S. Turgenev:
First love
Turgenev's story "First Love" was written in the mature age of the writer in 1860. Today you can download the book absolutely free. The author described the memory of the first feeling, putting his own experiences into the work.
"First Love" is a story with an unusual plot. Compositionally, it is presented in twenty chapters with a prologue. In the background, the reader meets the main character named Vladimir Petrovich, who tells his story of first love. In the image of the heroes, close people of Turgenev are clearly visible: the writer's parents, the author himself and his first lover Shakhovskaya Ekaterina Lvovna. The author describes in detail the turbulent experiences of the young man and the constantly changing mood. Despite Zinaida Zasekina's frivolous attitude towards him, Volodya is happy. But the anxiety is growing, the young man realizes that Zina loves his father. And her feelings are much stronger than the romantic passion of a young man.
With his work, Ivan Sergeevich shows readers that first love can be different and multifaceted in its manifestations. The hero does not hold a grudge against either his father or his beloved, understanding and accepting their feelings. The text "First Love" can be read online or downloaded in full on our website.
The main characters of the story. Volodya and Zinaida
Analysis of the story by I.S. Turgenev "First Love"
Volodya's soul is wide open to new impressions. The mood is prepared, and the reader is not surprised when Volodya falls in love with a young neighbor, Princess Zasekina, who has occupied the nearest house with her mother. “The dacha,” the narrator explains, “consisted of a manor’s house and two low outbuildings.” But the story of the meeting with the girl ahead. First, the author considered it necessary to tell who lives in the second outbuilding, turned into a factory. He shows how city workers work, the same boys as the main character himself: “A dozen thin and disheveled boys in greasy robes with exhausted faces jumped on wooden levers and thus, with the weight of their puny bodies, squeezed out colorful patterns of wallpaper.” They are not up to the pleasures of life. The relentless reflection on the fatal fault of the educated estates before the people is inherent in Turgenev. Wealthy people, enjoying the benefits of life, and do not notice their well-being. In "Rudin" Turgenev brought us to a peasant's hut. In "First Love" - to the factory.
Only after that draws a portrait of the main character. Zinaida appears as a vision, all the more beautiful because before that the young hero indulged in a not too poetic hobby. He went out to shoot crows, and suddenly "saw a girl in a pink dress and a scarf behind the fence." Volodya watched her from the side, and therefore the heroine appears to us for the first time as a sketch in profile: “... A slender figure, and slightly disheveled blond hair under a white handkerchief, and this half-closed intelligent eye, and these eyelashes, and a tender cheek under them.” Volodya found his neighbor not alone, and also engaged in a strange occupation: “Four young men crowded around her, and she alternately slapped their foreheads with gray flowers.” A game that draws a childish beginning in the guise of a heroine. And at the same time, one of the main features is revealed: youthful coquetry, the desire to captivate and conquer - "young people so willingly turned their foreheads - and in the movements of the girl there was something so charming, commanding, mocking and sweet." Volodya will instantly fall into the circle of young men, fascinated by her beauty.
Before us is a new Zinaida, "with an indescribable imprint of devotion, sadness, love and some kind of despair." This face, a dark sad dress, say how difficult the life of a girl who sacrificed everything for the sake of her first love.
At the end of the story, Turgenev again touches on the theme of time, again recalling how irremediably terrible it is to delay in love. Mr. N. could not catch up with Asya. Vladimir Petrovich was lucky after "four years" to hear about Zinaida. The princess managed to arrange her life, contrary to secular gossip. So you can understand Maidanov's polite omissions, from whose lips Vladimir learned about the further fate of Zinaida, now Mrs. Dolskaya. They can meet and meet the past. Moreover, she “became even prettier” and, according to her friend, “will be glad” to see her former admirer.
“Old memories stirred in me,” says Vladimir Petrovich, “I promised myself the next day to visit my former “passion”. The frivolous word "passion", which Vladimir Petrovich used when talking about his first love, inspires anxiety in the reader. And indeed, the hero is not in a hurry: “But there were some cases; a week has passed, another ... "And fate does not want to wait:" ... When I finally went to the Demut Hotel and asked Mrs. Dolskaya, I found out that she died almost suddenly four days ago». “It was as if something pushed me in my heart,” says the hero. - The thought that I could see her and did not see and will never see her - this bitter thought stabbed into me with all the force of an irresistible reproach.
It is also interesting why Turgenev called his heroine such an unusual name in those days as "Zinaida". Having considered its meaning, it becomes clear that it is this name that characterizes the girl like no other.
Zinaida (Greek) - born of Zeus (in Greek mythology, Zeus is the supreme deity); from the genus of Zeus.
The name Zinaida means divine; belonging to Zeus, that is, God's; from the genus of Zeus; born of Zeus. Bright, bright, cheerful and strong name. It sounds inner strength and concentration, exactingness and serious penetration. This name gives the impression of being armed and invulnerable, like knightly armor.
According to the warehouse of the psyche, Zinaida is a leader. But, when necessary, she will obey a man. This woman with a constant desire for superiority, as they say, with character. A restless and always unsatisfied soul.
Zinaida in the company is the "empress". In the sea of life - like a fish in water. She is determined and even reckless. She will not give up her interests, but she is not capable of vile deeds. And if it quarrels, then over trifles it quickly cools down. She knows the duty of each to society, to himself.
Zinaida is somewhat cold, but men always pay attention to her. She fools their minds.
“Of all my female types,” Turgenev once said, “I am most pleased with Zinaida in First Love. In it, I managed to present a real, lively face: a coquette by nature, but a coquette, really, attractive”
"First Love" (main characters)
The story was written by Turgenev as an autobiographical plot. Zinaida was in his destiny. It was his father who became interested in the young lady. Therefore, Turgenev was able to publish his work only after the death of his mother in 1860. Criticism unfriendly accepted Turgenev's Zinochka. DI. He wrote to Pisarev that he did not understand her character, but for Dobrolyubov she was Pechorin and Nozdryov rolled into one. “No one has met such a woman, and would not want to meet,” the critic concluded.Marya Nikolaevna, mother- she did not pay any attention to her son, despite the fact that he was the only son. Was jealous, constantly worried or angry.
Peter Vasilievich, father- a person exquisitely calm, self-confident and autocratic. He treated his son with indifference. He was 10 years younger than his wife and married her by calculation. He treated his son aloofly, almost did not engage in upbringing.
Princess Zasekina- 50 year old woman. Judging by her manners, she was not born into a princely family. In the second half of the 19th century, marriages between wealthy merchants and industrialists with impoverished nobles were accepted. The nobility was degraded. Princess Zasekina did not differ in secular manners, and was even an unpleasant woman
Zinochka, Zasekina's daughter- young lady 21 years old. Flirty. Her face was delicate, intelligent and sweet. Unlike her mother, she was distinguished by secular manners and tact. Was not devoid of princely arrogance. She spoke excellent French and read. Zinochka liked the men, and she knew it very well, and took advantage of it. She quickly noticed that 16-year-old Vladimir was in love with her, flirted with him, teased, spoiled, made fun of him.
“In her whole being, tenacious and beautiful, there was some especially charming mixture of cunning and carelessness, artificiality and simplicity, silence and playfulness; over everything she did, spoke, over her every movement hovered a subtle, light charm, in everything a peculiar, playful force was expressed. And her face was constantly changing, playing too: it expressed, almost at the same time, mockery, thoughtfulness and passion. The most varied feelings, light, fast, like the shadows of clouds on a sunny windy day, ran over her eyes and lips every now and then.
Zinaida was dominated by an incorrect upbringing, she was surrounded by strange people; poverty and disorder in the house. She felt her superiority over people, enjoyed unlimited freedom. All this, taken together, developed in her a certain carelessness to everything and undemandingness. “Caprice and independence,” Lushin described Zinochka in this way.
Zinochka made fun of the poet Maidanov, sympathized with him, and at the same time forced him to read Pushkin.
But of all the men who surrounded Zinochka, she fell in love with Pyotr Vasilyevich, Volodya's father. She fell in love so much that she was able to take a blow from him with a whip. This impressed young Vladimir the most.
Count Malevsky spoke with a slight Polish accent. He was a handsome and smartly dressed brunette with a mustache, expressive brown eyes, a thin nose and a small mouth. He was smart and handsome, but there was something false about him, something dubious. He earned himself a reputation as a hoaxer, he masterfully fooled people at masquerades. Possessed fox cunning and unconscious deceit, soaked into his entire existence.
Dr. Lushin distinguished by truthfulness and straightforwardness. Vladimir Petrovich respected him for this trait. He knew Zinaida better than others, and probably loved her more than others. In words, he was a cynical and mocking person.
Poet Maidanov - a tall young man with a thin face, half-blinded eyes, and long black hair. The man is cold, like all writers, who lived in his own fictional world. He assured Zinochka, and perhaps more of himself, that he adored her, sang of her in his poems.
Retired Captain Nirmatsky, a forty-year-old man, pockmarked to the point of disgrace, curly-haired like a black sheep, round-shouldered, bow-legged.
Belovzorov, hussar, - a handsome hussar with bulging eyes and blond curls was of a stately and even heroic physique. As a military man, he always wore a uniform. He offered Zinaida to marry him. Zinochka called the hussar "my beast." Belovzorov was insanely jealous of Zinochka for everyone
The novel ends with the fact that 4 years after the events described, Zinochka dies in childbirth. Vladimir graduated from the University, and Zinochka married a certain wealthy Mr. Dolsky.
Characteristics of the hero Father Volodya, First love, Turgenev. The image of the character Father Volodya
Characteristics of the hero Father Volodya
Volodya's father (Pyotr Vasilyevich) - one of the main characters of the story "First Love", Ivan Turgenev - is a handsome, calm and self-confident man who married Volodya's mother, who is 10 years older than him. He does not love his wife, as well as his son, practically does not educate him, but sometimes he can play with him or talk.
When his son was 16 years old, Peter started an affair with his first love - Princess Zinaida Zasekina, their neighbor in the country. The wife of Peter Vasilyevich found out about this novel, but he managed to convince her to forgive him, after which they had to urgently leave the country house for the city. Zinaida also moved to the city, where they continued to meet. She offered him to leave his wife and go to her, but he did not agree.
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The image of Zinaida in the novel "First Love"
I. S. Turgenev’s story “First Love” appeared in 1860. The author especially valued this work, probably because this story is largely autobiographical. It is very closely connected with the life of the writer himself, with the fate of his parents, as well as with wonderful and vivid memories of his first love.
The plot of the story "First Love" has a lot in common with Asya. Both here and there, an elderly man tells about his first feeling. Reading "Asya", we can only guess who Mr. N's listeners were. In the introduction to "First Love", both the characters and the situation are concretized. In his work, Turgenev clearly traces the emergence and development of the protagonist's love. Love is an amazing feeling, it gives a person a whole palette of emotions - from hopeless grief and tragedy to amazing, uplifting joy.
The narrative, in addition to the prologue, includes twenty-two small chapters. Their content does not exceed two or three pages - events and impressions change so rapidly, the main character, Volodya, grows so quickly.
After describing the portrait of a young man, the author draws a portrait of the main character. Zinaida appears as a vision, all the more beautiful because before that the young hero indulged in a not too poetic hobby. He went out to shoot crows, and suddenly "saw a girl in a pink dress and a scarf behind the fence." Volodya watched her from the side, and therefore the heroine appears to us for the first time as a sketch in profile: “... A slender figure, and slightly disheveled blond hair under a white handkerchief, and this half-closed intelligent eye, and these eyelashes, and a tender cheek under them.” Volodya found his neighbor not alone, and also engaged in a strange occupation: “Four young men crowded around her, and she alternately slapped them on the forehead<…>gray flowers." A game that draws a childish beginning in the guise of a heroine. And at the same time, one of the main features is revealed: youthful coquetry, the desire to captivate and conquer - “young people so willingly turned their foreheads - and in the movements of the girl<...>there was something so charming, commanding, mocking and sweet.” Volodya will instantly fall into the circle of young men, fascinated by her beauty.
Turgenev focuses not on the beauty of her features, but on their mobility, liveliness, variability, on "cute", "charming" movements. Therefore, in the description of the portrait there are many verbs: “trembled”, “laughed”, “sparkled”, “rose”. The princess is very lively, liberated, spontaneous, this is her charm, this is what makes her irresistible and desirable. Together with the girl, we find ourselves in some kind of bright and joyful world, where everything blooms and enjoys life, it is no coincidence that summer nature becomes the background of the portrait.
The image of Zinaida is the same as her portrait: the girl is always different, she is never the same, everything in her is constantly changing. At dinner with Volodya's mother (ch. 6), she is cold and prim, it is difficult to recognize yesterday's anemone in her, in playful games with her fans (ch. 7) Zinaida seems completely frivolous, but suddenly in chapter 9 we see her suffering, deeply sad , bitterly thinking about her difficult fate. The absolute freedom of self-manifestations, of course, delights, but this only confirms that the character of the girl is all woven from the deep contradictions that torment her, there are many mysteries in it.
The description of Zinaida testifies to her romanticism, youth; Vladimir sees the girl among the greenery, in the garden - this reveals Zina's connection with nature, the harmony of her image. Everything is good in her, and Vladimir is ready to give everything so that “these fingers slap on his forehead” too. Admirers crowd around the girl, who is not yet familiar to the protagonist - it is clear that she seems to Turgenev a mystery, and he would, perhaps, submit to her will. Some time after they met, Vladimir falls in love with Zinaida. The feeling of the young man is obvious: he is trying to stand out from the mass of admirers in front of her, fulfills many of her desires, which Zinaida unconsciously expresses; in the end, this is only his first love, and "what is in the soul, then on the face."
Zinaida occupies an intermediate position between childhood and adulthood. She is 21. This is evidenced by her actions, from which she breathes childishness, thoughtlessness (playing forfeits or ordering Voldemar to jump from the wall). The love of her fans amuses her. She also treats Voldemar as another admirer, at first not realizing that he has never fallen in love, that his life experience is even less than her own.
Of course, a twenty-year-old girl looked down on a sixteen-year-old admirer. In a moment of affectionate frankness, Zinaida says: “Listen, because I<…>could be your aunt, right; Well, not an aunt, an older sister. No wonder she "entrusted me with her brother, a twelve-year-old cadet who came for the holidays." The coincidence of names - the boy who arrived was also called Volodya - speaks of Zinaida's sisterly, patronizing feelings for both. Trying to analyze his then feelings, Vladimir Petrovich also repeats several times: "I was still a child." In many episodes, Volodya actually shows childishness. Following the cadet, he happily whistled into a makeshift pipe. To prove his love for the girl, he is ready, at her request, to jump onto the road from "two fathoms" heights. Touched by his timid admiration, Zinaida, partly jokingly, partly seriously, “favors” him with her page. This recognition and the gift of a rose takes you back to chivalrous times, the times of knights and beautiful ladies. In relation to Zinaida to her "page" there is a lot of unsaid, contradictory, sometimes cruel. To the just reproach through tears “... Why did you play with me? ... What did you need my love for?” Zinaida replies with a confession: “I am guilty before you, Volodya ... Ah, I am very guilty ...” “She did everything she wanted with me,” sums up the hero.
Zinaida sees this love; she is torn between Vladimir and his father, who is also infatuated with her. Turgenev emphasizes Zina's ability to understand other people's experiences, her prudence. She carefully weighs the situation before coming to a decision: become the mistress of a married man, destroying his family, or love his son, still a boy? Turgenev also conveys the torment before the choice, emphasizing her humanity and sincerity. “Everything disgusted me,” she whispered, “I would go to the ends of the world, I can’t bear it, I can’t cope .... And what awaits me ahead! .. Oh, it's hard for me .... my God, how hard! ”
Zinaida, despite her seeming frivolity, is capable of suffering and serious feelings. She suffers from the "illegality" of her feelings, this pushes her to unpredictable actions. This is the type of "Turgenev girl" - childishness, childish habits with the power of love and the feeling of an adult girl.
In the second plot scene, the motive of light will appear through and very important in solving the image of Zinaida. The light shines through in Zinaidina's “sly smile on her slightly open lips”, the princess's quick glance thrown at Vladimir illuminates with light. And “when her eyes, for the most part half-closed, opened to their full size,” the light seemed to spill over the entire face of the girl.
The feeling of the outgoing light from the look, the face of Zinaida belongs to the young knight in love, deifying his ideal, who saw a woman angel in front of him. But at the same time, light is a sign of special purity, which speaks of the inner purity of Zinaida, the purity of her soul, despite all the contradictory behavior of the princess.
The motif of light culminates in the portrait description of Zinaida, who is seated against the background of a window. “She was sitting with her back to the window, curtained with a white curtain, a sunbeam, breaking through this curtain, poured soft light on her fluffy golden hair, her innocent neck, sloping shoulders and gentle, calm chest.” Enveloped by window light, radiating light herself, she seemed to be in a cocoon of light, through which “her face seemed even more charming: everything in it was so subtle, smart and sweet.” Here “the eyelids quietly rose”, and in the girl’s kindly shining eyes the soul seemed to be reflected.
Zinaida enters the world of adults with difficulty and tears. In her character - to love a strong person, "who would break me himself." She is waiting for just such love, she wants to obey her chosen one. She is no longer satisfied with flirting with fans, she is “sick of everything”, and she is ready for a big, strong feeling. Voldemar is the first to understand that she truly fell in love.
In this sense, not only the image of the heroine and her fate are characteristic, but also the image and fate of Volodya's father, Pyotr Vasilyevich. He, like Zinaida, is far from an ordinary person. In an effort to emphasize the significance of his personality, the writer even surrounds her with an aura of some mystery. He fixes attention on the lust for power, characteristic of Peter Vasilyevich, on his despotic egoism. But Pyotr Vasilievich, this strong and unusual person in his own way, also does not find his happiness, wasting his strength and abilities in vain.
At first, one can only guess about the deep feelings of Peter Vasilyevich only from these indirect evidence, but they are more eloquent than words of love. Why is he rejuvenated, why is his gait so light, why is he drawn to talk to a girl, bending low towards her? Why are the princess' eyes rising so slowly? There is only one answer: they love and hide their criminal love, but the inner state of the characters, their emotional experiences betray an external gesture, a movement that makes a lot of things understandable. This is the peculiarity of Turgenev's psychologism. (Psychology is the image of the inner, hidden life of the human soul).
Of course, I recall the scene of the peeped meeting of the heroes in the house by the river, in which the always calm and ironic Pyotr Vasilyevich loses his temper and beats Zinaida on the arm with a whip (ch. 21). A blow with a whip is an external manifestation of Volodya's father's internal state. The writer does not tell us anything about the feelings of the hero that boil in the depths of his soul, but through this gesture we guess about them: a blow to the hand is something more than an expression of anger at Zinaida, who does not want to obey his decision. This is the hero's protest against the circumstances of his life, ruthlessly separating him from the one he loves, despair and pain in him.
The girl’s reaction is striking: “Zinaida shuddered, silently looked at her father and, slowly raising her hand to her lips, kissed the scar that had turned red on her.” The selfless gesture awakens repentance in the soul of the old egoist: “Father threw the whip aside and, hastily running up the steps of the porch, burst into the house ...” Most likely, this day became a turning point in the life of Pyotr Vasilyich and in his attitude towards people: “ He thought and lowered his head<…>. And then for the first and almost the last time I saw how much tenderness and regret his strict features could express.
Before us is a new Zinaida, "with an indescribable imprint of devotion, sadness, love and some kind of despair." This face, a dark sad dress, say how difficult the life of a girl who sacrificed everything for the sake of her first love.
At the end of the story, Turgenev again touches on the theme of time, again recalling how irremediably terrible it is to delay in love. Mr. N. could not catch up with Asya. Vladimir Petrovich was lucky after "four years" to hear about Zinaida. The princess managed to arrange her life, contrary to secular gossip. So you can understand Maidanov's polite omissions, from whose lips Vladimir learned about the further fate of Zinaida, now Mrs. Dolskaya. They can meet and meet the past. Moreover, she “became even prettier” and, according to her friend, “will be glad” to see her former admirer.
“Old memories stirred in me,” says Vladimir Petrovich, “I promised myself the next day to visit my former “passion”. The frivolous word "passion", which Vladimir Petrovich used when talking about his first love, inspires anxiety in the reader. And indeed, the hero is not in a hurry: “But there were some cases; a week has passed, another ... "And fate does not want to wait:" ... When I finally went to the Demut Hotel and asked Mrs. Dolskaya, I found out that she died almost suddenly four days ago<…>". “It was as if something pushed me in my heart,” says the hero. - The thought that I could see her and did not see and will never see her - this bitter thought stabbed into me with all the force of an irresistible reproach.
It is also interesting why Turgenev called his heroine such an unusual name in those days as "Zinaida". Having considered its meaning, it becomes clear that it is this name that characterizes the girl like no other.
Zinaida (Greek) - born of Zeus (in Greek mythology, Zeus is the supreme deity); from the genus of Zeus.
The name Zinaida means divine; belonging to Zeus, that is, God's; from the genus of Zeus; born of Zeus. Bright, bright, cheerful and strong name. It sounds inner strength and concentration, exactingness and serious penetration. This name gives the impression of being armed and invulnerable, like knightly armor.
According to the warehouse of the psyche, Zinaida is a leader. But, when necessary, she will obey a man. This woman with a constant desire for superiority, as they say, with character. A restless and always unsatisfied soul.
Zinaida in the company is the "Empress". In the sea of life - like a fish in water. She is determined and even reckless. She will not give up her interests, but she is not capable of vile deeds. And if it quarrels, then over trifles it quickly cools down. She knows the duty of each to society, to himself.
Zinaida is somewhat cold, but men always pay attention to her. She fools their minds.
“Of all my female types,” Turgenev once said, “I am most pleased with Zinaida in First Love. In it, I managed to present a real, lively face: a coquette by nature, but a coquette, really, attractive”
